Wednesday, January 28, 2015

Don't Hate on Satan

           According to Milton, throughout Paradise Lost, Lucifer is a character whose goals are to prove himself to others yet ends up hurting mankind along the way. Throughout the passage, Lucifer discusses how he wants to get revenge on God, and make the best out of Hell. He will “make a heaven out of hell and a hell out of heaven”(Milton line 255). Milton portrays Lucifer, probably the most evil being known to man, as a relatable, inspiring, and sympathetic character whom is the epitome of an antihero.
            Lucifer is seen as a new leader, one who will strike against those who wronged him and take revenge. He sounds like someone motivating and determined, not an evil being who just wants to hurt others. In the novel, Barbarous Dissonance and Images of Voice in Milton’s Epics, Sauer discusses the use of Satan as an antihero, “The description of Satan as a hero who, though fallen, possesses a form that has not yet lost testifies to his grandeur as well as to the poet's muted admiration for the classical antihero. Satan is characterized as an actor, deceiver, and simultaneously a champion” (Sauer 73). He is still very deceiving and plots to take revenge in a violent matter, yet his motives are simply to bring justice to God. Satan, for Milton, could represent all of humanity and the flaws within it. He falls from heaven yet is still stubborn enough to completely rebel against God, which shows the flaws within humans to be stubborn and vengeful (sins that are then punished for in Hell). It is by describing Satan in such a humble manner, that Milton gains the reader’s sympathy for the character and sets the precedent for antiheros in literature.

Milton influenced many other authors and people in general to show sympathy to the “bad guy” or “villain” and to focus on their background and reasons their actions. For instance, many characterized the poem as the “first Romantic” which then spurred the romantic period of literature which was a complete shift in the focus of artists and writers to think about humanity and who created who. Mary Shelley’s Frankenstein is strongly influenced by Paradise Lost for not only does the creature gain the sympathy of the readers through his murders yet tragic story, but also Victor himself is extremely romantic. The entire novel brings about the idea of man creating life, a romantic ideal that Milton really started with Satan rebelling against the norm (like Victor) and essentially creating a new word (as Victor creates a new life). Lucifer is a surprisingly dynamic being who set an example for all antiheros to follow.

Works Cited
·      Milton, John. Paradise Lost. Ed. Scott Elledge. 2nd ed. New York: Norton,
1975.
·      Sauer, Elizabeth. Barbarous Dissonance and Images of Voice in Milton's Epics.
Montreal: McGill-Queens UP, 1996. Questia School. Web. 28 Jan. 2015.

Wednesday, January 14, 2015

The Tempest (A Storm not a Character)

             The Tempest is a romance for it mixes elements of comedy as well as tragedy yet resolves with a happy ending. A traditional Shakespearean romance, according to Schwartz, includes elements of “happy endings to potentially tragic situations,” (Schwartz). Prospero, who from the start causes a storm only to take revenge on his brother, ends up forgiving him and their children get married. In fact, in many parts of the play there are threats of murder like when Stephano and Trinculo plan to kill Prospero and take his daughter “Monster, I will kill this man: his daughter and I will be king and queen--save our graces!—and Trinculo and thyself shall be viceroys. Dost thou like the plot, Trinculo?” (Shakespeare act 3 scene 2). Stephano is very greedy and wants to take over the island just for his own gain, yet he does not succeed, eliminating the tragic element to this plot point. Romances are concerned with forgiveness while tragedies with revenge, and although The Tempest includes elements of both, the ending is resolved due to forgiveness. (Schwartz).
            A major aspect of a romance is that they are unrealistic, including supernatural elements, which are an avid part of The Tempest. At one point in the play, Prospero uses his magic to make ghosts fly around the ship and the shipmates are so shocked that they assume more fantasy elements will come, “A living drollery. Now I will believe that there are unicorns, that in Arabia there is one tree, the phoenix' throne, one phoenix at this hour reigning there”(Shakespeare act 3 scene 3).  Ariel is also a completely magical being that can cast spells, and work with elements like air, earth, and water. Schwartz discusses the presence of supernatural in Romances, “Romance is unrealisticSupernatural elements abound, and characters often seem "larger than life" or one-dimensional,” (Schwartz). Prospero is a very dynamic character who can perform magic which is not at all consistent with characteristics of a tragedy. Another part of The Tempest that fits the romantic characteristics perfectly is that the plot seems serious and ending in catastrophe yet a strange occurrence solves most of the problems. In the play, Antonia agrees with Prospero that having their children married would be the best idea, so instead of them fighting each other, they forgive each other and the play ends in hopes of a wedding (romantic) instead of death (tragedy).
Works Cited 
Schwartz, Debora B. "Shakespeare's Four Final Plays: The Romances." 2005.Web. 13
January 2015. 
"The Tempest: Entire Play." The Tempest: Entire Play. N.p., n.d. Web. 12 Jan. 2015.